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Walt Disney Animation Studios

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Walt Disney Animation Studios
Walt Disney Animation Studios logo
Roy E. Disney Animation Building.jpg
The studio's headquarters at the Roy E. Disney Animation Building in Burbank
Industry
Motion pictures
Predecessor
Laugh-O-Gram Studio
Founded October 16, 1923; 92 years ago[1]
Founder
Walt Disney
Roy O. Disney
Headquarters
2100 W. Riverside Drive,[2] Burbank, California, United States
Key people
Edwin Catmull (President)[3]
John Lasseter (Chief Creative Officer)
Andrew Millstein (President)[3]
Products
Animated films
Number of employees
800+
Parent The Walt Disney Studios[4] (The Walt Disney Company)
Divisions
DisneyToon Studios[5][6]
Website www.disneyanimation.com
Walt Disney Animation Studios, headquartered at the Walt Disney Studios in Burba
nk, California,[7] is an American animation studio that creates animated feature
films, short films, and television specials for The Walt Disney Company. Founde
d on October 16, 1923,[1] it is a division of The Walt Disney Studios. The studi
o has produced 54 feature films, from Snow White and the Seven Dwarfs in 1937 to
Big Hero 6 in 2014.[8]
Originally founded as Disney Brothers Cartoon Studio in 1923 and incorporated as
Walt Disney Productions in 1929, the studio was exclusively dedicated to produc
ing short films until it expanded into feature production in 1934. In 1983, Walt
Disney Productions named its live-action film studio Walt Disney Pictures. Duri
ng a corporate restructuring in 1986, Walt Disney Productions was renamed The Wa
lt Disney Company and the animation division, renamed Walt Disney Feature Animat
ion, became a subsidiary of its film division, The Walt Disney Studios. In 2006,
Walt Disney Feature Animation took on its current name, Walt Disney Animation S
tudios after Pixar Animation Studios was acquired by Disney in the same year.
For much of its existence, the studio was recognized as the premier American ani
mation studio;[9] it developed many of the techniques, concepts, and principles
that became standard practices of traditional animation.[10] The studio also pio
neered the art of storyboarding, which is now a standard technique used in both
animated and live-action filmmaking.[11] The studio's catalog of animated featur
es is among Disney's most notable assets, with the stars of its animated shorts
Mickey Mouse, Donald Duck, Goofy, and Pluto becoming recognizable figures in pop
ular culture and mascots for The Walt Disney Company as a whole.
Walt Disney Animation Studios, today managed by Edwin Catmull and John Lasseter
(who also manage Pixar), continues to produce feature films using both tradition
al animation and computer-generated imagery (CGI). Its 55th and 56th features, Z
ootopia and Moana, are currently in production; the former is scheduled for rele
ase on March 4, 2016, and the latter is scheduled for release on November 23, 20
16.[12][13]
Contents [hide]
1
History

1.1
Disney Brothers Cartoon Studio
1.2
1930s: Silly Symphonies and Snow White and the Seven Dwarfs
1.3
1940s: New features, strike, and World War II
1.4
1950s: Return of features, end of shorts
1.5
1960s: Walt Disney's final years
1.6
1970s: Decline in popularity
1.7
1980s: "Rock bottom" and return to prominence
1.7.1 19801985
1.7.2 19851989
1.8
1990s: Disney Renaissance
1.8.1 19901994: Successful releases
1.8.2 Impact of success on Disney and animation industry
1.8.3 19951999: Declining returns
1.9
20002006: Second decline
1.9.1 Early 2000s releases
1.9.2 Downsizing and conversion to computer animation
1.9.3 Corporate issues
1.10
20072009: Rebound
1.10.1 Disney acquisition of Pixar and revitalization under Lasseter and Catmul
l
1.10.2 Walt Disney Animation Studios
1.11
2010s: Resurgence
2
Studio
2.1
Management
2.2
Locations
3
Productions
3.1
Feature films
3.2
Short films
4
Collaborations
4.1
Parks and resorts
4.2
Video Games
4.3
Associated productions
5
See also
6
References
7
Further reading
8
External links
History[edit]
Disney Brothers Cartoon Studio[edit]
The building on Kingswell Avenue in Los Feliz which was home to the studio from
1923 to 1926
Kansas City, Missouri, natives Walt Disney and Roy O. Disney founded the Disney
Brothers Cartoon Studio in Los Angeles in 1923, and got their start producing a
series of silent Alice Comedies short films featuring a live-action child actres
s in an animated world.[14] The Alice Comedies were distributed by Margaret J. W
inkler's Winkler Pictures, which later also distributed a second Disney short su
bject series, the all-animated Oswald the Lucky Rabbit, through Universal Pictur
es starting in 1927.[14][15] Upon relocating to California, the Disney brothers
initially started working in their uncle Robert Disney's garage at 4406 Kingswel
l Avenue in the Los Feliz neighborhood of Los Angeles, then in October 1923 form
ally launched their studio in a small office on the rear side of a real estate a
gency's office at 4651 Kingswell Avenue. In February 1924, the studio moved next
door to office space of its own at 4649 Kingswell Avenue. In 1925, Disney put d
own a deposit on a new location at 2719 Hyperion Avenue in the nearby Silver Lak
e neighborhood, which came to be known as the Hyperion Studio to distinguish it
from the studio's other locations, and in January 1926 the studio moved there an
d took on the name the Walt Disney Studio.[16]
Meanwhile, after the first year's worth of Oswalds, Walt Disney attempted to ren
ew his contract with Winkler Pictures, but Charles Mintz, who had taken over Mar

garet Winkler's business after marrying her, wanted to force Disney to accept a
lower advance payment for each Oswald short. Disney refused, and as Universal ow
ned the rights to Oswald rather than Disney, Mintz set up his own animation stud
io to produce Oswald cartoons. Most of Disney's staff was hired away by Mintz to
move over, once Disney's Oswald contract was done in mid-1928.[17]
Working in secret while the rest of the staff finished the remaining Oswalds on
contract, Disney and his head animator Ub Iwerks led a small handful of loyal st
affers in producing cartoons starring a new character named Mickey Mouse.[18] Th
e first two Mickey Mouse cartoons, Plane Crazy and The Galloping Gaucho, were pr
eviewed in limited engagements during the summer of 1928. For the third Mickey c
artoon, however, Disney produced a soundtrack, collaborating with musician Carl
Stalling and businessman Pat Powers, who provided Disney with his bootlegged "Ci
nephone" sound-on-film process. Subsequently, the third Mickey Mouse cartoon, St
eamboat Willie, became Disney's first cartoon with synchronized sound, and was a
major success upon its November 1928 debut at the West 57th Theatre in New York
City.[19] The Mickey Mouse series of sound cartoons, distributed by Powers thro
ugh Celebrity Productions, quickly became the most popular cartoon series in the
United States.[20][21] A second Disney series of sound cartoons, the Silly Symp
honies, debuted in 1929 with The Skeleton Dance.[22]
1930s: Silly Symphonies and Snow White and the Seven Dwarfs[edit]
In 1930, disputes over finances between Disney and Powers led to Disney's studio
, reincorporated on December 16, 1929, as Walt Disney Productions, signing a new
distribution contract with Columbia Pictures.[23][24] Powers in return signed a
way Ub Iwerks, who began producing cartoons at his own studio.[25]
Columbia distributed Disney's shorts for two years before the Disney studio ente
red a new distribution deal with United Artists in 1932. The same year, Disney s
igned a two-year exclusive deal with Technicolor to utilize its new 3-strip colo
r film process,[26] which allowed for fuller-color reproduction where previous c
olor film processors could not.[27] The result was the Silly Symphony Flowers an
d Trees, the first film commercially released in full Technicolor.[27][28] Flowe
rs and Trees was a major success,[27][29] and all Silly Symphonies were subseque
ntly produced in Technicolor.[30][31]
By the early 1930s, Walt Disney had realized that the success of animated films
depended upon telling emotionally gripping stories that would grab the audience
and not let go,[32][33] and this realization led him to create a separate "story
department" with storyboard artists dedicated to story development.[34] With we
ll-developed characters and an interesting story, the 1933 Technicolor Silly Sym
phony Three Little Pigs became a major box office and pop culture success,[27][3
5] with its theme song "Who's Afraid of the Big Bad Wolf" becoming a popular cha
rt hit.[36]
In 1934, Walt Disney gathered several key staff members and announced his plans
to make his first feature animated film. Despite derision from most of the film
industry, who dubbed the production "Disney's Folly," Disney proceeded undaunted
into the production of Snow White and the Seven Dwarfs,[37] which would become
the first animated feature in English and Technicolor. Considerable training and
development went into the production of Snow White and the Seven Dwarfs, and th
e studio greatly expanded with established animators, artists from other fields,
and recent college graduates joining the studio to work on the film. The traini
ng classes, supervised by the head animators such as Les Clark, Norm Ferguson, a
nd Art Babbit and taught by Donald W. Graham, an art teacher from the nearby Cho
uinard Art Institute,[10][37] had begun at the studio in 1932 and were greatly e
xpanded into orientation training and continuing education classes.[10][37] In t
he course of teaching the classes, Graham and the animators created or formalize
d many of the techniques and processes that became the key tenets and principles
of traditional animation.[10] Silly Symphonies such as The Goddess of Spring (1

934) and The Old Mill (1937) served as experimentation grounds for new technique
s such as the animation of realistic human figures, special effects animation, t
he use of the multiplane camera,[38] an invention which split animation artwork
layers into several planes, allowing the camera to appear to move dimensionally
through an animated scene.[39]
Walt Disney introduces each of the Seven Dwarfs in a scene from the original 193
7 Snow White theatrical trailer.
Snow White and the Seven Dwarfs cost Disney a then-expensive sum of $1.4 million
to complete (including $100,000 on story development alone), and was an unprece
dented success when released in February 1938 by RKO Radio Pictures, which had a
ssumed distribution of Disney product from United Artists in 1937. Snow White an
d the Seven Dwarfs was briefly the highest grossing film of all time before the
success of Gone with the Wind two years later,[40][41] grossing over $8 million
on its initial release, the equivalent of $134,487,000 in 1999 dollars.[41]
During the production of Snow White and the Seven Dwarfs, work had continued on
the Mickey Mouse and Silly Symphonies series of shorts. Mickey Mouse switched to
Technicolor in 1935, by which time the series had added several major supportin
g characters, among them Mickey's dog Pluto and their friends Donald Duck and Go
ofy. Donald, Goofy, and Pluto would all be appearing in series of their own by 1
940, and the Donald Duck cartoons eclipsed the Mickey Mouse series in popularity
.[42] The Silly Symphonies, which garnered seven Academy Awards, ended in 1939.[
43]
1940s: New features, strike, and World War II[edit]
The success of Snow White allowed Disney to build a new, larger studio on Buena
Vista Street in Burbank, where The Walt Disney Company remains headquartered to
this day. Walt Disney Productions had its initial public offering on April 2, 19
40, with Walt Disney as president and chairman and Roy Disney as CEO.[44]
The studio launched into the production of new animated features, the first of w
hich was Pinocchio, released in February 1940. Pinocchio was not initially a box
office success.[45] The box office returns from the film's initial release were
both below Snow White's unprecedented success and below studio expectations.[45
][46] Of the film's $2.289 million cost twice of Snow White Disney only recouped
$1 million by late 1940, with studio reports of the film's final original box o
ffice take varying between $1.4 million and $1.9 million.[47] However, Pinocchio
was a critical success, winning the Academy Award for Best Original Song and Be
st Original Score, making it the first film of the studio to win not only either
Oscar, but both at the same time.[48]
Walt Disney acts out a storyboarded scene in The Sorcerer's Apprentice, a segmen
t of Fantasia (1940), for its on-screen stars, host Deems Taylor and conductor L
eopold Stokowski.
Fantasia, an experimental film produced to an accompanying orchestral arrangemen
t conducted by Leopold Stokowski, was released in November 1940 by Disney itself
in a series of limited-seating roadshow engagements. The film cost $2 million t
o produce, and although the film earned $1.4 million in its roadshow engagements
,[49] the high cost ($85,000 per theater)[49] of installing Fantasound placed Fa
ntasia at an even greater loss than Pinocchio.[50] RKO assumed distribution of F
antasia in 1941,[51] later reissuing it in severely edited versions over the yea
rs.[52][53] Despite its financial failure, Fantasia was the subject of two Acade
my Honorary Awards on February 26, 1942 one for the development of the innovativ
e Fantasound system used to create the film's stereoscopic soundtrack, and the o
ther for Stokowski and his contributions to the film.[54]
Much of the character animation on these productions and all subsequent features

until the late 1970s was supervised by a brain-trust of animators Walt Disney d
ubbed the "Nine Old Men," many of whom also served as directors and later produc
ers on the Disney features: Frank Thomas, Ollie Johnston, Woolie Reitherman, Les
Clark, Ward Kimball, Eric Larson, John Lounsbery, Milt Kahl, and Marc Davis.[55
] Other head animators at Disney during this period included Norm Ferguson, Bill
Tytla, and Fred Moore. The development of the feature animation department crea
ted a caste system at the Disney studio: lesser animators (and feature animators
in-between assignments) were assigned to work on the short subjects, while anim
ators higher in status such as the Nine Old Men worked on the features. Concern
over Walt Disney accepting credit for the artists' work as well as debates over
compensation led to many of the newer and lower-ranked animators seeking to unio
nize the Disney studio.[56]
A bitter union strike began in May 1941, which was resolved without the angered
Walt Disney's involvement in July and August of that year.[56] As Walt Disney Pr
oductions was being set up as a union shop,[56] Walt Disney and several studio e
mployees were sent by the US government on a Good Neighbor policy trip to Centra
l and South America.[57] The Disney strike and its aftermath led to an exodus of
several animation professionals from the studio, from top-level animators such
as Art Babbitt and Bill Tytla, to artists better known for their work outside th
e Disney studio such as Frank Tashlin, Maurice Noble, Walt Kelly, Bill Melndez, a
nd John Hubley.[56] Hubley, with several other Disney strikers, went on to found
the United Productions of America studio, Disney's key animation rival in the 1
950s.[56]
Dumbo, in production during the midst of the animators' strike, premiered in Oct
ober 1941, and proved to be a financial success. The simple film only cost $950,
000 to produce, half the cost of Snow White and the Seven Dwarfs, less than a th
ird of the cost of Pinocchio, and two-fifths of the cost of Fantasia. Dumbo even
tually grossed $1.6 million during its original release.[58] In August 1942, Bam
bi was released, and as with Pinocchio and Fantasia, did not perform well at the
box office. Out of its $1.7 million budget, it only grossed $1.64 million.[59]
Production of full-length animated features was temporarily suspended after the
release of Bambi. Given the financial failures of some of the recent features an
d World War II cutting off much of the overseas cinema market, the studio's fina
nciers at the Bank of America would only loan the studio working capital if it t
emporarily restricted itself to shorts production.[60] Then in-production featur
es such as Peter Pan, Alice in Wonderland, and Lady and the Tramp were therefore
put on hold until after the war.[60] Other issues affecting the studio at the t
ime included the drafting of several Disney animators to fight in World War II,
and the necessity for the studio to focus on producing wartime content for the U
.S. Army, particularly military training and civilian propaganda films. From 194
2 to 1943, 95 percent of the studio's animation output was for the military.[61]
During the war, Disney produced the live-action/animated military propaganda fe
ature Victory Through Air Power (1943),[62] and a series of Latin culture-themed
shorts resulting from the 1941 Good Neighbor trip were compiled into two featur
es, Saludos Amigos (1942) and The Three Caballeros (1944).[62]
Saludos and Caballeros set the template for several other 1940s Disney releases
of "package films": low-budgeted films composed of animated short subjects with
animated or live-action bridging material.[63][64] These films were Make Mine Mu
sic (1946), Fun and Fancy Free (1947), Melody Time (1948), and The Adventures of
Ichabod and Mr. Toad (1949). The studio also produced two features, Song of the
South (1946) and So Dear to My Heart (1948), which used more expansive live-act
ion stories which still included animated sequences and sequences combining live
-action and animated characters. Shorts production continued during this period
as well, with Donald Duck, Goofy, and Pluto cartoons being the main output accom
panied by cartoons starring Mickey Mouse, Figaro, and in the 1950s, Chip 'n Dale
and Humphrey the Bear.[65]

In addition, Disney began reissuing the previous features, beginning with re-rel
eases of Snow White in 1944,[66] Pinocchio in 1945, and Fantasia in 1946.[67] Th
is led to a tradition of reissuing the Disney films every seven years, which las
ted into the 1990s before being translated into the studio's handling of home vi
deo releases.[66]
1950s: Return of features, end of shorts[edit]
The original Animation Building at the Walt Disney Studios in Burbank, Californi
a, the headquarters of the animation department from 1940 to 1984.
In 1948, Disney returned to the production of full-length features with Cinderel
la, a full-length film based on the fairy tale by Charles Perrault. At a cost of
nearly $3,000,000, the future of the studio depended upon the success of this f
ilm.[68] Upon its release in 1950, Cinderella proved to be a box office success,
with the profits from the film's release allowing Disney to carry on producing
animated features throughout the 1950s.[69] Following its success, production on
the in-limbo features Alice in Wonderland, Peter Pan, and Lady and the Tramp wa
s resumed. In addition, an ambitious new project, an adaptation of the fairy tal
e "Sleeping Beauty" set to Tchaikovsky's classic score, was begun but took much
of the rest of the decade to complete.[70]
Alice in Wonderland, released in 1951, met with a lukewarm response at the box o
ffice and was a sharp critical disappointment in its initial release.[71] Peter
Pan, released in 1953, was, on the other hand, a commercial success and the high
est-grossing film of the year. In 1955, Lady and the Tramp was released to highe
r box office success than any other Disney feature from the studio since Snow Wh
ite and the Seven Dwarfs,[72] earning an estimated $7.5 million in rentals at th
e North American box office in 1955.[73] Lady is significant as Disney's first w
idescreen animated feature, produced in the CinemaScope process,[72] and was the
first Disney animated feature to be released by Disney's own distribution compa
ny, Buena Vista Distribution.[74]
By the mid-1950s, with Walt Disney's attention primarily set on new endeavour su
ch as live-action films, television, and the Disneyland theme park,[55] producti
on of the animated films was left primarily in the hands of the "Nine Old Men" t
rust of head animators and directors. This led to several delays in approvals du
ring the production of Disney's Sleeping Beauty,[55] which was finally released
in 1959. At $6 million,[75] it was Disney's most expensive film to date, produce
d in a heavily stylized art style devised by artist Eyvind Earle[75] and present
ed in large-format Super Technirama 70 with six-track stereophonic sound.[75] Ho
wever, the film's large production costs and underperformance at the box office
resulted in the studio posting its first annual loss in a decade for fiscal year
1960,[76] leading to massive layoffs throughout the studio.[77]
By the end of the decade, the Disney short subjects were no longer being produce
d on a regular basis, with many of the shorts divisions' personnel either leavin
g the company or begin reassigned to work on Disney television programs such as
The Mickey Mouse Club and Disneyland. While the Disney shorts had dominated the
Academy Award for Best Short Subject (Cartoons) during the 1930s, its reign over
the award had been ended by MGM's Tom and Jerry cartoons, Warner Bros' Looney T
unes and Merrie Melodies, and the works of United Productions of America (UPA),
whose flat art style and stylized animation techniques were lauded as more moder
n alternatives to the older Disney style.[78] During the 1950s, only one Disney
short, the stylized Toot, Whistle, Plunk and Boom, won the Best Short Subject (C
artoons) Oscar.[79]
The Mickey Mouse, Pluto, and Goofy shorts had all ceased regular production by 1
953, with Donald Duck and Humphrey continuing and converting to widescreen Cinem
aScope before also being discontinued in 1956. Disney shorts would only be produ

ced on a sporadic basis from this point on,[65] with notable later shorts includ
ing It's Tough to Be a Bird (1969),[80] Runaway Brain (1995, starring Mickey Mou
se),[81] and Paperman (2012).[82]
1960s: Walt Disney's final years[edit]
Despite the 1959 layoffs and competition for Walt Disney's attention from the co
mpany's grown live-action film, TV, and theme park departments, production conti
nued on feature animation productions at a reduced level.[70] In 1961, the studi
o released One Hundred and One Dalmatians, an animated feature which popularized
the use of xerography during the process of inking and painting traditional ani
mation cels.[83] Using xerography, animation drawings could be photo-chemically
transferred rather than traced from paper drawings to the clear acetate sheets (
"cels") used in final animation production.[83] The resulting art style a scratc
hier line which revealed the construction lines in the animators' drawings typif
ied Disney films into the 1980s.[83] The film was a success, being the tenth hig
hest grossing film of 1961 with rentals of $6.4 million.[84]
The Disney animation training program started at the studio before the developme
nt of Snow White in 1932 eventually led to Walt Disney helping found the Califor
nia Institute of the Arts (CalArts).[85] This university, formed via the merger
of Chouinard Art Institute and the Los Angeles Conservatory of Music, included a
Disney-developed animation program of study among its degree offerings. CalArts
became the alma mater of many of the animators who would work at Disney and oth
er animation studios from the 1970s to the present.[85]
The Sword in the Stone was released in 1963, and was the sixth highest grossing
film of the year in North America with estimated rentals of $4.75 million.[86] A
featurette adaptation of one of A. A. Milne's Winnie-the-Pooh stories, Winnie t
he Pooh and the Honey Tree, was released in 1966,[87] to be followed by several
other Pooh featurettes over the years and a full-length compilation feature, The
Many Adventures of Winnie the Pooh, which was released in 1977.[87]
Walt Disney died in December 1966, ten months before the studio's next film, The
Jungle Book, was completed and released.[88] The film was a success,[89] finish
ing 1967 as the fourth highest-grossing movie of the year.[90]
1970s: Decline in popularity[edit]
Following Walt Disney's passing, Woolie Reitherman continued as both producer an
d director of the features.[91][92] The studio began the 1970s with the release
of The Aristocats, the last film project to be approved by Walt Disney himself.[
92] In 1971, Roy O. Disney, the studio co-founder, died and Walt Disney Producti
ons was left in the hands of Donn Tatum and Card Walker, who alternated as chair
man and CEO in overlapping terms for the rest of the decade.[93] The next featur
e, Robin Hood (1973), was produced with a significantly reduced budget and anima
tion repurposed from previous features.[91] Both The Aristocats and Robin Hood w
ere minor box office and critical successes.[91][92]
The Rescuers, released in 1977, was a success exceeding the achievements of the
previous two Disney features.[92] Receiving broad critical acclaim, commercial r
eturns, and an Academy Award nomination, it ended up being the third highest gro
ssing film in 1977 and the most successful and acclaimed Disney animated film si
nce The Jungle Book.[91][92] The film was reissued in 1983, accompanied by a new
Disney featurette, Mickey's Christmas Carol.[94]
The production of The Rescuers signaled the beginning of a changing of the guard
process in the personnel at the Disney animation studio:[92] as veterans such a
s Milt Kahl and Les Clark retired, they were gradually replaced by new talents s
uch as Don Bluth, Ron Clements, John Musker, and Glen Keane.[92][95] The new ani
mators, culled from the animation program at CalArts and trained by Eric Larson,
Frank Thomas, Ollie Johnston, and Woolie Reitherman[92][95] got their first cha

nces to prove themselves as a group with the animated sequences in Disney's live
-action/animated hybrid feature Pete's Dragon (1977),[96] the animation for whic
h was directed by Don Bluth.[91] In September 1979, dissatisfied with what they
felt was a stagnation in the development of the art of animation at Disney,[97]
Bluth and several of the other new guard animators quit to start their own studi
o, Don Bluth Productions,[97] which became Disney's chief competitor in the anim
ation field during the 1980s.[95]
1980s: "Rock bottom" and return to prominence[edit]
19801985[edit]
Roy E. Disney (Chairman, 19852003), nephew of Walt Disney, was a key figure in re
structuring the animation department following the reorganization of the Disney
company in 1984
Delayed half a year by the defection of the Bluth group,[95] The Fox and the Hou
nd was released in 1981 after four years in production. The film was considered
a financial success by the studio, and development continued on The Black Cauldr
on, a long-gestating adaptation of the Chronicles of Prydain series of novels by
Lloyd Alexander[95] produced in Super Technirama 70.
The Black Cauldron was intended to expand the appeal of Disney animated films to
older audiences and to showcase the talents of the new generation of Disney ani
mators from CalArts. Besides Keane, Musker, and Clements, this new group of arti
sts included other promising animators such as Andreas Deja, Mike Gabriel, John
Lasseter, and Tim Burton. Lasseter was fired from Disney in 1983 for pushing the
studio to explore computer animation production,[98][99] but went on to become
the creative head of Pixar, a pioneering computer animation studio that would be
gin a close association with Disney in the late 1980s.[98][100][101] Similarly,
Burton was fired in 1984 after producing a live-action short shelved by the stud
io, Frankenweenie, then went on to become a high-profile producer and director o
f live-action and stop motion animated features for Disney and other studios. So
me of Burton's high-profile projects for Disney would include the stop-motion Th
e Nightmare Before Christmas (1993), a live-action adaptation of Alice in Wonder
land (2010), and a stop-motion feature remake of Frankenweenie (2012).[102][103]
Ron Miller, Walt Disney's son-in-law, became president of Walt Disney Production
s in 1980 and CEO in 1983.[104] That year, he expanded the company's film and te
levision production divisions, creating the Walt Disney Pictures banner under wh
ich future films from the feature animation department would be released.[104] A
fter a series of corporate takeover attempts in 1984, Roy E. Disney, son of Roy
O. and nephew of Walt, resigned from the company's board of directors and launch
ed a campaign called "SaveDisney", successfully convincing the board to fire Mil
ler. Roy E. Disney brought in Michael Eisner as Disney's new CEO, and Frank Well
s as president.[93][105] Eisner in turn named Jeffrey Katzenberg chairman of the
film division, The Walt Disney Studios.[95] Near completion when the Eisner reg
ime took over Disney, The Black Cauldron would come to represent what would late
r be referred to as the "rock bottom" point for Disney animation.[95] The studio
's most expensive feature to that point at $44 million, The Black Cauldron was a
critical and commercial failure.[95] The film's $21 million box office gross le
d to a loss for the studio, putting the future of the animation division in jeop
ardy.[95]
19851989[edit]
Between the 1950s and 1980s, the significance of animation to Disney's bottom li
ne was significantly reduced as the company expanded into further live-action pr
oduction, television, and theme parks.[95] As new CEO, Michael Eisner strongly c
onsidered shuttering the feature animation studio and outsourcing future animati
on. Roy E. Disney intervened, offering to head the feature animation division an
d turn its fortunes around,[95] while Eisner established the The Walt Disney Pic
tures Television Animation Group to produce lower-cost animation for television.

[93] Named Chairman of feature animation by Eisner, Roy E. Disney appointed Pete
r Schneider president of animation to run the day-to-day operations in 1985.[106
]:3
In February 1985, Disney executives moved the animation division from the Disney
studio lot in Burbank to a variety of warehouses, hangars, and trailers located
about two miles east (3.2 kilometers) in nearby Glendale, California.[95] The a
nimation division's first feature animation at its new location was The Great Mo
use Detective, begun by John Musker and Ron Clements as Basil of Baker Street af
ter both left the Black Cauldron production.[107] The Great Mouse Detective was
enough of a critical and commercial success to instill executive confidence in t
he animation studio.[95] Later the same year, however, Universal Pictures and St
even Spielberg's Amblin Entertainment released Don Bluth's An American Tail, whi
ch outgrossed The Great Mouse Detective at the box office and became the highest
-grossing first-issue animated film to that point.[108]
Katzenberg, Schneider, and Roy E. Disney set about changing the culture of the s
tudio, increasing staffing and production so that a new animated feature would b
e released every year instead of every two to four.[95] The first of the release
s on the accelerated production schedule was Oliver & Company in 1988, which fea
tured an all-star cast including Billy Joel and Bette Midler and an emphasis on
a modern pop soundtrack.[95] Oliver & Company opened in the theaters on the same
day as another Bluth/Amblin/Universal animated film, The Land Before Time; howe
ver, Oliver outgrossed Time and went on to become the most successful animated f
eature to that date.[95]
1400 Flower Street in Glendale, California, one of several buildings used by Wal
t Disney Feature Animation between 1985 and 1995.
1400 Air Way, another Glendale building used by Walt Disney Feature Animation be
tween 1985 and 1995.
At the same time in 1988, Disney's started entering into Australia's long standi
ng animation industry, by purchasing Hanna-Barbera's Australian studio to start
Disney Animation Australia.[109]
While Oliver & Company and next feature animation, The Little Mermaid, were in p
roduction, Disney collaborated with Steven Spielberg's Amblin Entertainment and
master animator Richard Williams to produce Who Framed Roger Rabbit, a groundbre
aking live action/animation hybrid directed by Robert Zemeckis which featured li
censed animated characters from other animation studios.[110][111] Disney set up
a new animation studio under Williams' supervision in London to create the cart
oon characters for Roger Rabbit, with many of the artists from the California st
udio traveling to England to work on the film.[95][112] A significant critical a
nd commercial success,[112] Roger Rabbit won three Academy Awards for technical
achievements.[113] and was key in renewing mainstream interest in American anima
tion.[95] Other than the film itself, the studio also produced three Roger Rabbi
t shorts during the late 1980s and early 1990s.[114][115]
A second satellite studio, Walt Disney Feature Animation Florida, opened in 1989
with 40 employees. Its offices were located within the Disney-MGM Studios theme
park at Walt Disney World in Bay Lake, Florida, and visitors were allowed to to
ur the studio and observe animators at work.[116] The same year, the studio rele
ased The Little Mermaid, which became a keystone achievement in Disney's history
as its largest critical and commercial success in decades. Directed by John Mus
ker and Ron Clements, who'd been co-directors on The Great Mouse Detective, Merm
aid earned $84 million at the North American box office, a record for the studio
. The film was built around a score from Broadway songwriters Alan Menken and Ho
ward Ashman, who was also a co-producer and story consultant on the film.[95] Me
rmaid won two Academy Awards, for Best Original Song and for Best Original Score

.[117]
The Little Mermaid vigorously relaunched a profound new interest in the animatio
n and musical film genres.[95][118] Mermaid was also the first to feature the us
e of Disney's Computer Animation Production System (CAPS). Developed for Disney
by Pixar,[95] which had grown into a commercial computer animation and technolog
y development company, CAPS would become significant in allowing future Disney f
ilms to more seamlessly integrate computer-generated imagery and achieve higher
production values with digital ink and paint and compositing techniques.[95] The
Little Mermaid was the first of a series of blockbusters that would be released
over the next decade by Walt Disney Feature Animation, a period later designate
d by the term Disney Renaissance.[119]
1990s: Disney Renaissance[edit]
Main article: Disney Renaissance
19901994: Successful releases[edit]
Walt Disney Feature Animation logo from 1997 to 2006
Accompanied in theaters by the Mickey Mouse featurette The Prince and the Pauper
, The Rescuers Down Under (1990) was Disney's first animated feature sequel and
the studio's first film to be fully colored and composited via computer using th
e CAPS system.[95] However, the film did not duplicate the success of The Little
Mermaid.[95] The next Disney animated feature, Beauty and the Beast, had begun
production in London, but was moved back to Burbank after Disney decided to shut
ter the London satellite office and retool Beauty into a musical-comedy format s
imilar to Mermaid.[95] Alan Menken and Howard Ashman were retained to write the
song score, though Ashman died before production was completed.[95]
Debuting first in a work-in-progress version at the 1991 New York Film Festival
before its November 1991 wide release, Beauty, directed by Kirk Wise & Gary Trou
sdale, was an unprecedented critical and commercial success, and would later be
seen as one of the studio's best films.[120] The film earned six Academy Award n
ominations, including one for Best Picture, a first for an animated work, winnin
g for Best Song and Best Original Score.[121] Its $145 million box office gross
set new records, and merchandising for the film including toys, cross-promotions
, and soundtrack sales was also lucrative.[122]
The successes of Mermaid and Beauty established the template for future Disney r
eleases during the 1990s: a musical-comedy format with Broadway-styled songs and
tentpole action sequences, buoyed by cross-promotional marketing and merchandis
ing, all carefully designed to pull audiences of all ages and types into theatre
s.[122] In addition to John Musker, Ron Clements, Kirk Wise, and Gary Trousdale,
the new guard of Disney artists creating these films included story artists/dir
ectors Roger Allers, Rob Minkoff, Chris Sanders, and Brenda Chapman, and lead an
imators Glen Keane, Andreas Deja, Eric Goldberg, Nik Ranieri, Will Finn, and man
y others.[122]
Aladdin, released in November 1992, continued the upward trend in Disney's anima
tion success, earning $504 million worldwide at the box office,[123] and two mor
e Oscars for Best Song and Best Score.[124] Featuring songs by Menken, Ashman, a
nd Tim Rice (who replaced Ashman after his passing)[125] and starring the voice
of Robin Williams,[126] Aladdin also established the trend of hiring celebrity a
ctors and actresses to provide the voices of Disney characters,[126] which had b
een explored to some degree with The Jungle Book and Oliver & Company, but now b
ecame standard practice.[126]
In June 1994, Disney released The Lion King, directed by Roger Allers and Rob Mi
nkoff. An all-animal adventure set in Africa, The Lion King featured an all-star
voice cast which included James Earl Jones, Matthew Broderick, and Jeremy Irons
, and songs written by Tim Rice and pop star Elton John. The Lion King earned $7

68 million at the worldwide box office,[127] to this date a record for a traditi
onally animated film,[128] earning millions more in merchandising, promotions, a
nd record sales for its soundtrack.[122]
Impact of success on Disney and animation industry[edit]
622/610 Circle 7 Drive (the Hart-Dannon Building), another Glendale building use
d by Walt Disney Feature Animation during the early 1990s.
Aladdin and The Lion King had been the highest-grossing films worldwide in each
of their respective release years.[129][130] With animation becoming again an in
creasingly important and lucrative part of Disney's business, the company began
to expand its operations. The flagship California studio was split into two unit
s and expanded,[122] and ground was broken on a new Disney Feature Animation bui
lding adjacent to the main Disney lot in Burbank, which was dedicated in 1995.[9
5][122] The Florida satellite, officially incorporated in 1992,[131] was expande
d as well, and one of Disney's television animation studios in the Paris, France
suburb of Montreuil[132] the former Brizzi Brothers studio[132] became Walt Dis
ney Feature Animation Paris, where A Goofy Movie (1995) and significant parts of
later Disney films were produced.[95] Also, Disney began producing lower cost d
irect to video sequels for its successful animated films using the services of i
ts television animation studios under the name Disney MovieToons. The Return of
Jafar (1994), a sequel to Aladdin and a pilot for the Aladdin television show sp
in-off, was the first of these productions.[133] Walt Disney Feature Animation w
as also heavily involved in the adaptations of both Beauty and the Beast in 1994
and The Lion King in 1997 into Broadway musicals.[122]
Jeffrey Katzenberg and the Disney story team were heavily involved in the develo
pment and production of Toy Story,[134] the first fully computer-animated featur
e ever produced.[134] Toy Story was produced for Disney by Pixar and directed by
former Disney animator John Lasseter,[134] whom Peter Schneider had unsuccessfu
lly tried to hire back after his success with Pixar shorts such as Tin Toy (1988
).[95] Released in 1995, Toy Story opened to critical acclaim[134][135][136] and
commercial success,[134][137] leading to Pixar signing a five-film deal with Di
sney, which bore critically and financially successful computer animated films s
uch as A Bug's Life (1998), Toy Story 2 (1999), and Monsters, Inc. (2001).[138]
In addition, the successes of Aladdin and The Lion King spurred a significant in
crease in the number of American-produced animated features throughout the rest
of the decade, with the major film studios establishing new animation divisions
such as Fox Animation Studios, Turner Feature Animation, and Warner Bros. Animat
ion being formed to produce films in a Disney-esque musical-comedy format such a
s Anastasia (1997), Cats Don't Dance (1997), and Quest for Camelot (1998), respe
ctively.[139]
19951999: Declining returns[edit]
Concerns arose internally at Disney, particularly from Roy E. Disney, about stud
io chief Jeffrey Katzenberg taking too much credit for the success of Disney's e
arly-1990s releases.[95] Disney president Frank Wells was killed in a helicopter
accident in 1994, and Katzenberg lobbied CEO Michael Eisner for the vacant pres
ident position. Instead, tensions between Katzenberg, Eisner, and Disney resulte
d in Katzenberg being forced to resign from the company that October,[140] with
Joe Roth taking his place.[140] He went on to become one of the founders of Drea
mWorks SKG, whose's animation division became Disney's key rival in feature anim
ation[122][141] with both computer animated films such as Antz (1998), and tradi
tionally animated films such as The Prince of Egypt (1998).[139]
In contrast to the early 1990s productions, the mid-1990s Disney animated featur
es presented a trend of diminishing returns. Pocahontas, released in summer 1995
, was a critical and commercial disappointment compared to its predecessors,[141
] earning $346 million worldwide[142] while still winning two Academy Awards for

its music by Alan Menken and Stephen Schwartz.[143] The next film, The Hunchbac
k of Notre Dame (1996), partially produced at the Paris studio,[132] performed b
etter critically but grossed only $325 million worldwide.[144] The following sum
mer, Hercules, grossed only $252 million worldwide[145] and received positive re
views,[146] but it was responsible for beginning the decline of traditional anim
ated films. The declining box office success became doubly concerning inside the
studio as wage competition from DreamWorks had significantly increased the stud
io's overhead,[105][122] with production costs increasing from $79 million in to
tal costs (production, marketing, and overhead) for The Lion King in 1994 to $17
9 million for Hercules three years later.[141] Moreover, Disney depended upon th
e popularity of its new features in order to develop merchandising, theme park a
ttractions, direct-to-video sequels, and television programming in its other div
isions.[122] The production schedule was scaled back,[141] and a larger number o
f creative executives were hired to more closely supervise production, a move th
at was not popular among the animation staff.[122][147][148]
Mulan (1998), the first film produced primarily at the Florida studio,[149] earn
ed $305 million in worldwide box office. The next summer's Tarzan, directed by K
evin Lima and Chris Buck, had a high production cost of $150 million,[141] but e
arned $448 million at the box office.[150] The Tarzan song score by pop star Phi
l Collins resulted in significant record sales and an Academy Award for Best Son
g.[151]
In October 1999, Dream Quest Images, a special effects studio previously purchas
ed by The Walt Disney Company in April 1996 to replace Buena Vista Visual Effect
s,[152] was merged with the computer-graphics operation of Walt Disney Feature A
nimation to form a division called The Secret Lab.[153] The Secret Lab produced
one feature film, Dinosaur (2000), which featured CGI prehistoric creatures agai
nst filmed live-action backgrounds.[154] The $128 million production earned $349
million worldwide, below studio expectations,[154] and the Secret Lab was close
d in 2001.[155]
20002006: Second decline[edit]
Early 2000s releases[edit]
Fantasia 2000, a sequel to the 1940 film that had been a pet-project of Roy E. D
isney's since 1990,[156][157] was released on January 1, 2000. Produced in piece
s when artists were available between productions,[156] Fantasia 2000 was the fi
rst animated feature produced for and released in IMAX format.[158] A standard t
heatrical release followed in June, but the film's $90 million worldwide box off
ice total against its $90 million production cost[157] resulted in it losing $10
0 million for the studio.[157][159] Peter Schneider left his post as president o
f Walt Disney Feature Animation in 1999 to become president of The Walt Disney S
tudios under Joe Roth.[160] Thomas Schumacher, who had been Schneider's vice pre
sident of animation for several years, became the new president of Walt Disney F
eature Animation.[160] By this time, competition from other studios had driven a
nimators' incomes to all-time highs,[122] making traditionally animated features
even more costly to produce.[141] Schumacher was tasked with cutting costs, and
massive layoffs began to cut salaries and bring the studio's staff which peaked
at 2,200 people in 1999 down to approximately 1,200 employees.[161][162]
That December saw the release of The Emperor's New Groove, which had originally
been a musical epic called Kingdom of the Sun before being revised mid-productio
n into a smaller comedy,[163][164] New Groove earned $169 million worldwide when
released in December 2000,[165] though it was well reviewed and performed bette
r on video.[166][167] Atlantis: The Lost Empire (2001), an attempt to break the
Disney formula by moving into action-adventure, received mixed reviews and earne
d $186 million worldwide against production costs of $120 million.[161][168][169
]
Downsizing and conversion to computer animation[edit]

By 2001, the notable successes of computer-animated films from Pixar and DreamWo
rks such as Monsters, Inc. and Shrek, respectively, against Disney's lesser retu
rns for The Emperor's New Groove and Atlantis led to a growing perception that h
and-drawn animation was becoming outdated and falling out of fashion.[122][170][
171] In March 2002, just after the successful release of Blue Sky Studios' compu
ter-animated feature Ice Age,[122] Disney laid off most of the employees at the
Feature Animation studio in Burbank, downsizing it to one unit and beginning pla
ns to move into fully computer animated films.[122][172] A handful of employees
were offered positions doing computer animation. Morale plunged to a low not see
n since the start of the studio's ten-year exile to Glendale in 1985.[122][173]
The Paris studio was also closed in 2003.[174]
The Burbank studio's remaining hand-drawn productions, Treasure Planet (2002) an
d Home on the Range (2004), continued production. Treasure Planet was a retellin
g of Treasure Island in space that was a pet project of writer-directors Ron Cle
ments & John Musker. It received generally positive reviews and an IMAX release
but was financially unsuccessful upon release, resulting in a $74 million writed
own for The Walt Disney Company in fiscal year 2003.[173] The Burbank studio's 2
D departments closed at the end of 2002 following completion of Home on the Rang
e,[122][175] a long-in-production feature originally known as Sweating Bullets.[
176][unreliable source?]
Meanwhile, hand-drawn feature animation production continued at the Feature Anim
ation Florida studio, where the films could be produced at lower costs.[172] Lil
o & Stitch, an offbeat comedy written and directed by Chris Sanders and Dean DeB
lois,[171] became the studio's first bonafide hit since Tarzan upon its summer 2
002 release,[177] earning $279 million worldwide against a $80 million productio
n budget.[178]
Most of the 1990s Disney features had been spun off into direct-to-video sequels
, television series, or both, produced by the Disney Television Animation unit.
Beginning with Return to Never Land, a 2002 sequel to 1953's Peter Pan, Disney b
egan releasing lower-budgeted sequels to earlier films, originally intended for
video premieres, in theaters,[133] a process derided by some of the Disney anima
tion staff[122] and fans of the Disney films.[179]
In 2003, Tom Schumacher was appointed president of Buena Vista Theatrical Group,
Disney's stageplay and musical theater arm, and David Stainton, then president
of Walt Disney Television Animation, was appointed as his replacement. Stainton
continued to oversee Disney's direct-to-video division, DisneyToon Studios, whic
h had been part of the television animation department,[4] though transferred at
this time to Walt Disney Feature Animation management.[6]
Under Stainton, the Florida studio completed Brother Bear (2003), which did not
perform as well as Lilo & Stitch critically or financially.[177] Disney announce
d the closing of the Florida studio on January 12, 2004,[122][177] with the then
in-progress feature My Peoples left unfinished when the studio closed two month
s later.[147][171][175][180] Upon the unsuccessful April 2004 release of Home on
the Range,[176] Disney, led by executive Bob Lambert,[181] officially announced
its conversion of Walt Disney Feature Animation into a fully CGI studio a proce
ss begun two years prior[170][182] now with a staff of 600 people[170] and began
selling off all of its traditional animation equipment.[122]
Corporate issues[edit]
Just after Brother Bear ' s November 2003 release, Feature Animation chairman Roy E.
Disney had resigned from The Walt Disney Company, launching with business partn
er Stanley Gold a second external "SaveDisney" campaign similar to the one that
had forced Ron Miller out in 1984, this time to force out Michael Eisner.[179] T
wo of their arguing points against Eisner included his handling of Feature Anima
tion and the souring of the studio's relationship with Pixar[170]

Talks between Michael Eisner and Pixar CEO Steve Jobs over renewal terms for the
highly lucrative Pixar-Disney distribution deal broke down in January 2004.[170
][183] Jobs in particular disagreed with Eisner's insistence that sequels such a
s the then in-development Toy Story 3 would not count against the number of film
s required in the studio's new deal.[183] To that end, Disney announced the laun
ching of Circle 7 Animation, a division of Feature Animation which would produce
sequels to the Pixar films, while Pixar began shopping for a new distribution d
eal.[183]
In 2005, Disney released its first fully computer-animated feature, Chicken Litt
le. The film was a moderate success in the box office, earning $315 million worl
dwide,[184] but not well-reviewed.[185] Later that year, after two years of Roy
E. Disney's "SaveDisney" campaign, Michael Eisner announced that he would resign
and named Bob Iger, then president of The Walt Disney Company, his successor as
chairman and CEO.[179]
20072009: Rebound[edit]
Disney acquisition of Pixar and revitalization under Lasseter and Catmull[edit]
John Lasseter (Chief Creative Officer, left) and Edwin Catmull (President, right
) came to Disney following its acquisition of Pixar and dedicated themselves to
revitalizing Walt Disney Animation Studios after the studio's unsuccessful early
2000s period.
With Iger in place as the new CEO of Disney, Steve Jobs resumed negotiations for
Pixar with Disney.[186] On January 24, 2006, Disney announced that it would be
acquiring Pixar for $7.4 billion, with the deal closing that May.[186] As part o
f the acquisition, Pixar executives Edwin Catmull and John Lasseter assumed cont
rol of Walt Disney Feature Animation as President and Chief Creative Officer, re
spectively,[187] and the Circle 7 studio launched to produce Toy Story 3 was shu
t down,[188][189] with most of its employees returning to Feature Animation and
Toy Story 3 returning to Pixar's control.[190]
While Disney executives had originally discussed closing Feature Animation as re
dundant, Catmull and Lasseter refused and instead resolved to try to turn things
around at the studio.[191][192] Lasseter and Catmull set about rebuilding the m
orale of the Feature Animation staff,[193][194] and rehired a number of its 1980
s "new guard" generation of star animators who had left the studio, including Ro
n Clements, John Musker, Eric Goldberg,[99] Mark Henn, Andreas Deja, Bruce W. Sm
ith, and Chris Buck.[195] To maintain the separation of Disney and Pixar despite
their now common ownership and management, Catmull and Lasseter "drew a hard li
ne" that each studio was solely responsible for its own projects and would not b
e allowed to borrow personnel from or lend tasks out to the other.[196][197]
Catmull and Lasseter also brought to Disney the Pixar model of a "filmmaker-driv
en studio" as opposed to an "executive-driven studio"; they abolished Disney's p
rior system of requiring directors to respond to "mandatory" notes from developm
ent executives ranking above the producers in favor of a system roughly analogou
s to peer review, in which non-mandatory notes come primarily from fellow produc
ers, directors, and writers.[192][198] Most of the layers of "gatekeepers" (midl
evel executives) were stripped away, and Lasseter established a routine of perso
nally meeting weekly with filmmakers on all projects in the last year of product
ion and delivering feedback on the spot.[199]
Walt Disney Animation Studios[edit]
Lasseter renamed Walt Disney Feature Animation to Walt Disney Animation Studios,
[200] and re-positioned the studio as an animation house that produced both trad
itional and computer-animated projects. In order to keep costs down on hand-draw
n productions, animation, design, and layout were done in-house at Disney while
clean-up animation and digital ink-and-paint were farmed out to vendors and free

lancers.[201]
In 2007, the studio released Meet the Robinsons, its second all-CGI film, which
was not financially successful, earning $169 million worldwide.[202] That year,
DisneyToon Studios was also restructured and began to operate as a separate unit
under Lasseter and Catmull's control.[203] John Lasseter's direct intervention
with the studio's next film, American Dog, resulted in the departure of director
Chris Sanders,[204] who went on to become a director at DreamWorks Animation.[2
05] The film was retooled by new directors Byron Howard and Chris Williams as Bo
lt (2008), which had the best critical reception of any Disney animated feature
since Lilo & Stitch,[206] and became a moderate financial success.[207]
The Princess and the Frog, directed by Ron Clements & John Musker, was the studi
o's first hand-drawn animated film in five years. A return to the musical-comedy
format of the 1990s with songs by Randy Newman,[208] the film was released in 2
009 to a positive reception and was also nominated for three Academy Awards, inc
luding two for Best Song.[209] The box office performance of The Princess and th
e Frog a total of $267 million earned worldwide against a $105 million productio
n budget was seen as an underperformance[207] due to competition with Avatar. In
addition, the "Princess" aspect of the title was blamed, resulting in future Di
sney films then in production about princesses being given neutral/symbolic titl
es: Rapunzel became Tangled and The Snow Queen became Frozen.[193][210][211][212
] In 2014, however, Disney animator Tom Sito compared the film's box office perf
ormance to that of The Great Mouse Detective (1986), which was a step up from th
e theatrical run of the 1985 box office bomb The Black Cauldron.[213] In 2009, t
he studio also produced the computer-animated Prep & Landing holiday special for
the Disney-owned ABC television network.[214]
2010s: Resurgence[edit]
After The Princess and the Frog, the studio released Tangled, a musical CGI adap
tation of the Brothers Grimm's Rapunzel tale with songs by Alan Menken and Glenn
Slater. In active development since 2002 under Glen Keane,[182] Tangled, direct
ed by Byron Howard and Nathan Greno, was released in November 2010 and became a
significant critical and commercial success,[215][216] and was nominated for sev
eral accolades. The film earned $591 million in worldwide box office revenue, be
coming the studio's third most successful release to date.[217]
The hand-drawn feature Winnie the Pooh, a new feature film based on the A.A. Mil
ne characters, followed in 2011 and to positive reviews but underwhelming box of
fice. Winnie the Pooh remains to date the studio's most recent hand-drawn featur
e.[218] Wreck-It Ralph, directed by Rich Moore, was released in 2012, to critica
l acclaim and commercial success. A comedy-adventure about a video-game villain
who redeems himself as a hero, it won numerous awards, including the Annie, Crit
ics' Choice, and Kids' Choice Awards for Best Animated Feature Film and received
Golden Globe and Academy Award nominations.[219] The film earned $471 million i
n worldwide box office revenue.[220][221][222] In addition, the studio won its f
irst Academy Award for a short film in forty-four years with Paperman.[223] Dire
cted by John Kahrs, Paperman utilized new software developed in house at the stu
dio called Meander, which merges hand-drawn and computer animation techniques wi
thin the same character to create a unique "hybrid." According to Producer Krist
ina Reed, the studio is continuing to develop the technique for future projects,
[224] including an animated feature.[218]
In 2013, the studio laid off nine of its hand-drawn animators, including Nik Ran
ieri and Ruben Aquino,[225] leading to speculation on animation blogs that the s
tudio was abandoning traditional animation, an idea that the studio dismissed.[2
26] That same year, Frozen, a CGI musical film inspired by Hans Christian Anders
en's The Snow Queen, was released to widespread acclaim and became a blockbuster
hit. Directed by Chris Buck and Jennifer Lee with songs by the Broadway team of
Robert Lopez & Kristen Anderson-Lopez,[227] it was the first Disney animated fi

lm to earn over $1 billion in worldwide box office revenue and is currently the
highest-grossing animated film of all time, surpassing Pixar's Toy Story 3.[219]
[227][228] Frozen also became the first film from Walt Disney Animation Studios
to win the Academy Award for Best Animated Feature (a category started in 2001),
as well as the first feature-length motion picture from the studio to win an Ac
ademy Award since Tarzan and the first to win multiple Academy Awards since Poca
hontas.[229] It was released in theaters with Get a Horse!, a new Mickey Mouse c
artoon combining black-and-white hand-drawn animation and full-color CGI animati
on.[230] The studio's next feature, Big Hero 6, a CGI comedy-adventure film insp
ired by Marvel's Big Hero 6 comics, was released on November 7, 2014.[231] The f
ilm was accompanied in theaters by the animated short Feast, which won the Acade
my Award for Best Animated Short Film.[232][233] Big Hero 6 received critical ac
claim and was the highest-grossing animated film of 2014, and it also won the Ac
ademy Award for Best Animated Feature.[234][235][236][237]
Studio[edit]
Management[edit]
Walt Disney Animation Studios is currently managed by Edwin Catmull (President,
Walt Disney and Pixar Animation Studios), John Lasseter (Chief Creative Officer)
and Andrew Millstein (President).[3][187][238] Since 2006, while continuing to
live in the San Francisco Bay Area (where they manage Pixar), Catmull and Lasset
er have regularly commuted to Burbank every week to spend at least two days (usu
ally Tuesdays and Wednesdays) at Disney Animation.[239] They initially appointed
Millstein as general manager and executive vice president to handle day-to-day
business operations on their behalf. Millstein was promoted to the title of pres
ident in November 2014, along with his counterpart at Pixar, general manager Jim
Morris.[3] Both Millstein and Morris continue to report to Catmull, who retains
the title of president of both studios.[3]
Former presidents of the studio include David Stainton (January 2003 January 200
6), Thomas Schumacher (January 2000 December 2002) and Peter Schneider (1985 Dec
ember 1999).[5]
Other Disney executives who also exercised much influence within the studio were
Roy E. Disney (19852003, Chairman, Walt Disney Feature Animation), Jeffrey Katze
nberg (198494, Chairman, The Walt Disney Studios), Michael Eisner (19842005, CEO,
The Walt Disney Company), and Frank Wells (198494, President and COO, The Walt Di
sney Company). Following Roy Disney's passing in 2009, the WDAS headquarters in
Burbank was re-dedicated as The Roy E. Disney Animation Building in May 2010.[24
0]
Locations[edit]
The south side of the Roy E. Disney Animation Building, as seen from the public
park that separates it from the Ventura Freeway.
Since 1995, Walt Disney Animation Studios has been headquartered in the Roy E. D
isney Animation Building in Burbank, California, across Riverside Drive from The
Walt Disney Studios, where the original Animation building (now housing corpora
te offices) is located. The Disney Animation Building's lobby is capped by a lar
ge version of the famous hat from the Sorcerer's Apprentice segment of Fantasia,
and the building is informally called the "hat building" for that reason.[241]
Disney Animation shares its site with ABC Studios, whose building is located imm
ediately to the west.[242]
From 1985 to 1995, Disney Animation previously operated out of the Air Way compl
ex, a cluster of old hangars, office buildings, and trailers[95] in the Grand Ce
ntral Business Centre, an industrial park on the site of the former Grand Centra
l Airport[243] about two miles (3.2 km) east in the city of Glendale. Today, the
DisneyToon Studios unit is currently based in Glendale. Disney Animation's arch
ive, formerly known as "the morgue" (based on an analogy to a morgue file) and t

oday known as the Animation Research Library,[244] is also located in Glendale.[

245] Unlike the Burbank buildings, DisneyToon Studios and the ARL are located in
nondescript office buildings near Disney's Grand Central Creative Campus. The 1
2,000-square-foot ARL is home to over 64 million items of animation artwork goin
g back to 1924; because of its importance to the company, it requires visitors t
o agree to not disclose its exact location within Glendale.[245]
Previously, feature animation satellite studios were located around the world in
Montreuil, Seine-Saint-Denis, France (a suburb of Paris),[132] and in Bay Lake,
Florida (near Orlando, at Disney's Hollywood Studios, one of the four theme par
ks at Walt Disney World).[171] The Paris studio was shut down in 2002,[180] whil
e the Florida studio was shut down in 2004.[180] The Florida building survives a
s a show and tour called The Magic of Disney Animation.[246]
In November 2014, Disney Animation commenced a 16-month upgrade of the Roy E. Di
sney Animation Building,[247] in order to fix what Catmull has called its "dunge
on-like" interior.[248] Disney did not disclose the renovation's cost, however,
Lasseter revealed "The whole center of the second floor will have an atrium that
will go up two stories, we want to make this building so beautiful that it's wo
rthy of the artistic talent that's there." In addition, it was revealed that the
large sorcerer's cap will become the building's main entrance. Lasseter stated
"There will be a gorgeous stairway that goes up into the hat, it's a really grea
t symbol, like you're entering the building through the magic of Mickey Mouse's
hat."[249] Due to the renovation, the studio's employees have been temporarily m
oved from Burbank into the closest available Disney-controlled studio space the
DisneyToon Studios building in the industrial park in Glendale and the old Imagi
neering warehouse in North Hollywood under the western approach to Bob Hope Airp
ort. Director Don Hall analogized the studio's relocation to the end of The Empi
re Strikes Back, where "you know they're going to get back together."[249]
Productions[edit]
Feature films[edit]
Main article: List of Walt Disney Animation Studios films
Walt Disney Animation Studios has produced animated features in a series of anim
ation techniques, including traditional animation, computer animation, and anima
tion combined with live action scenes. The studio's first film, Snow White and t
he Seven Dwarfs, was released on December 21, 1937,[250] and their most recent f
ilm, Big Hero 6, was released on November 7, 2014.[231]
Short films[edit]
Main article: List of Disney animated shorts
Since Alice Comedies in the 1920s, Walt Disney Animation Studios has produced a
series of prominent short films, including the Mickey Mouse cartoons and the Sil
ly Symphonies series. Many of these shorts provided a medium for the studio to e
xperiment with new technologies that they would use in their filmmaking process,
such as the synchronization of sound in Steamboat Willie (1928),[19] the integr
ation of the three strip Technicolor process in Flowers and Trees (1932),[27] th
e multiplane camera in The Old Mill (1937),[39] the xerography process in Goliat
h II (1960),[251] and the hand-drawn/CGI hybrid animation in Off His Rockers (19
92),[252] Paperman (2012)[224] and Get a Horse! (2013).[230]
Collaborations[edit]
Parks and resorts[edit]
Walt Disney Animation Studios has occasionally collaborated with Walt Disney Cre
ative Entertainment and Walt Disney Imagineering to create attractions for vario
us Disney theme parks and resorts. Some of these attractions are:
Cranium Command, at Epcot
Gran Fiesta Tour Starring The Three Caballeros, at Epcot
Mickey's PhilharMagic, at the Magic Kingdom, Hong Kong Disneyland and Tokyo Disn

eyland
Stitch's Great Escape!, at the Magic Kingdom
Stitch Encounter, at Hong Kong Disneyland and Tokyo Disneyland, and Walt Disney
Studios Park as "Stitch Live!"
Fantasmic!, at Disneyland, Disney's Hollywood Studios and Tokyo DisneySea
World of Color, at Disney California Adventure
Disney Dreams!, at Disneyland Park Paris
Seven Dwarfs Mine Train, at the Magic Kingdom
Frozen Ever After, at Epcot
Video Games[edit]
Walt Disney Animation Studios has also collaborated and put input through the co
mpany's Disney Interactive unit for several games. Some of these games are:
Disney Infinity series (Developed by Avalanche Software)
Kingdom Hearts III (Co-Published/Developed by Square Enix)[253][254]
Associated productions[edit]
Walt Disney Animation Studios has occasionally collaborated with other studios t
o assist in the production of some animated and live-action features. These film
s are:
The Reluctant Dragon, providing the animated segments
Victory Through Air Power, providing the animated segments
Song of the South, providing the animated segments
So Dear to My Heart, providing the animated segments
Mary Poppins, providing the animated segments
Bedknobs and Broomsticks, providing the animated segments
Pete's Dragon, providing animation
Who Framed Roger Rabbit, providing animation, layout, animatics and storyboards
(animation unit only), and special effects
The Nightmare Before Christmas, providing second-layering traditional animation[
255]
A Goofy Movie, providing story, development, and pre-production
Toy Story, providing development
Saving Mr. Banks, providing animation for a short scene recreating an episode of
the Disneyland TV show
See also[edit]
Portal icon
Disney portal
Portal icon
Film portal
Portal icon
Animation portal
Walt Disney
Disney's Nine Old Men
12 basic principles of animation
Walt Disney Treasures
Disney Animation: The Illusion of Life
Modern animation in the United States: Disney
Animation studios owned by The Walt Disney Company
Documentary films about Disney animation
A Trip Through the Walt Disney Studios (1937, short)
The Reluctant Dragon (1941, a staged "mockumentary")
Frank and Ollie (1995)
Dream on Silly Dreamer (2005)
Waking Sleeping Beauty (2009)
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Further reading[edit]
Gabler, Neal (2006), Walt Disney: The Triumph of the American Imagination, New Y
ork: Random House, ISBN 0-679-43822-X
Stewart, James (2005), DisneyWar, New York: Simon and Schuster, ISBN 0-684-80993
-1
External links[edit]
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Official website
Walt Disney Feature Animation at the Internet Movie Database
Walt Disney Animation Studios at the Internet Movie Database
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